REVOLUTIONARY ROAD
Written by
Justin Haythe
EXT. NEW YORK CITY - NIGHT, 1947. FLASHBACK.
City lights. The soaring bridges and glowing windows of New
York City. The SOUNDS of a cocktail party.
INT. GREENWICH VILLAGE APARTMENT - NIGHT, 1947. FLASHBACK.
A party of bohemian types in the village. Artist's canvases
propped up against the walls. A narrow hallway with couples
talking intimately. Two rooms crammed with young people
smoking and drinking.
A man and a woman in their 20's stand alone in a corner...
FRANK WHEELER, intelligent good-looks, and APRIL JOHNSON, a
patrician beauty, a woman amongst girls. He's been making
her laugh.
FRANK
So, what do you do?
APRIL
I'm studying to be an actress.
You?
FRANK
I'm a longshoreman.
APRIL
(smiles)
No, I mean really.
FRANK
I mean really too. Starting
Monday, though, I'm doing something
a little more glamorous. Night
cashier at a cafeteria.
APRIL
(smiles)
I don't mean how you make money. I
mean what are you interested in?
FRANK
Honey - if I had the answer to that
one, I bet I'd bore us both to
death in half an hour.
2.
She laughs. He smiles, revelling in her attention.
INT. GREENWICH VILLAGE APARTMENT - NIGHT, 1947, LATER.
Later, Frank and April dance. They move well, in sync,
looking into each other's eyes. He slides his hand down the
silk of April's dress until it rests in the small of her
back.
Close on their hands. Their fingers slowly entwine as they
lose themselves in each other...
SMASH CUT TO:
INT. AUDITORIUM - NIGHT, PRESENT.
Close on Frank's face, seven years later, full of doubt and
tension as he watches his wife, April, on stage and as we
hear the hollow VOICES of a very bad amateur play...
Finally, mercifully, the curtain falls. Nothing. Then
vigorous, relieved applause.
Frank hears a voice from behind, through the applause:
WOMAN
Thank God that's over...
April takes the final bow. She's fighting not to cry. Frank
applauds her loudly. Looks around to see who else is joining
him. But there is no noticeable crescendo in the applause.
Then Frank hears the voice again:
WOMAN (CONT'D)
...And she was very disappointing.
He can't argue.
INT. HIGH SCHOOL AUDITORIUM - NIGHT, MOMENTS LATER.
Frank now moves against the crowd of exiting audience members
towards the stage. He keeps his head lowered, avoiding eye-
contact, until he feels a hand on his sleeve.
3.
MR. AND MRS. GIVINGS, an older couple, are standing in his
way.
MRS. GIVINGS
Frank! Very nice Frank!
FRANK
Thanks, Mrs. Givings.
Frank steps around her.
MRS. GIVINGS
I can't tell you how much we
enjoyed it. You have a very
talented wife.
Frank forces a smile as he goes.
FRANK
I'll pass it along!
INT. DRESSING ROOM - NIGHT.
April sits alone at her dressing table crying.
INT. BACK STAGE - NIGHT.
The CAST mills backstage. The mood is subdued, but some have
decided to make light of the disaster.
Frank moves through the crowd. Across the room, he sees -
MILLY CAMPBELL, 30's, determinedly bright, up on her tip-
toes. Her husband SHEP, 30's, heavy-set, is still in
costume, shell-shocked and pebbled with sweat.
MILLY
Frank!
FRANK
Hi!
MILLY
She's through there...!
(points)
You `bout ready for that drink?
4.
FRANK
Couple of minutes!
INT. DRESSING ROOM - NIGHT.
Frank enters. The chair in front of the mirror is empty. A
cigarette burns in the ashtray. Frank glances at a standing
screen in the corner. April's costume is draped over the
top. He goes towards it, deciding what to say.
FRANK
(heartfelt)
April, sweetheart. You were great.
I mean it.
The door to the bathroom opens. April enters in street
clothes. Frank's been talking to an empty room.
APRIL
Hi. You about ready to leave?
I've just got to get this makeup
off, then we can go.
She sits in front of the mirror, too embarrassed to look at
him. FRANK can see that her face is blotchy from crying. He
puts his hand on her shoulder.
FRANK
Well... I guess it wasn't a triumph
or anything, was it?
APRIL looks at him in the mirror. She holds his look just a
second. And from her expression, he knows he said exactly
the wrong thing.
APRIL
I guess not. I'll be ready in a
minute.
FRANK
Take your time.
He removes his hands and lights a cigarette. APRIL begins to
take off her makeup.
5.
APRIL
Will you do me a favor? Milly and
Shep wanted us to go out with them
afterwards. Will you say we can't?
Say it's because of the baby sitter
or something?
FRANK
Well, the thing is, I already said
that we could. I mean, I just saw
them out there and I said we would.
APRIL
(tense)
Oh. Then would you mind going out
again and saying you were mistaken?
That should be simple enough.
FRANK
Don't you think that's a little bit
rude, April?
APRIL
Well I'll tell them myself.
FRANK
Okay. Okay. Take it easy. I'll
tell them.
He backs to the door.
INT. HIGH-SCHOOL CORRIDOR - NIGHT.
April and Frank walk down a long empty echoing corridor, past
school lockers, booster club posters and silent classrooms.
They don't touch. They don't speak. The tension between
them is palpable.
INT. WHEELER CAR - NIGHT.
Frank drives. April stares ahead. Their faces are lit by
the dashboard. After a while...
6.
FRANK
I mean it, baby. You were the only
person in that play.
APRIL
Thank you.
He looks over at her.
FRANK
We just never should've let you get
mixed up in the damned thing.
APRIL
All right.
FRANK
You've studied for Christ's sake.
APRIL
Could we sort of stop talking about
it now?
FRANK
Sure. I just don't want you
feeling bad about it, that's all.
Because it's not worth it. I mean,
it's bad enough having to live out
here among these damn people -
what'd you say?
APRIL
I said yes. All right, Frank.
Could you just stop talking now,
before you drive me crazy, please?
Frank clenches his jaw and flips on the indicator.
APRIL (CONT'D)
What are you doing? Why are we
stopping?
EXT. HIGHWAY - NIGHT.
The car comes to a stop at the side of the road.
7.
INT. WHEELER CAR - NIGHT.
Frank turns off the ignition. He slides towards her.
APRIL
No, Frank, please don't...
He puts his arms around her.
FRANK
Baby, it's okay...
APRIL
Please don't touch me.
FRANK
April...
APRIL
Why can't you...just... LEAVE ME
ALONE!
Frank slides back behind the wheel. Beat.
FRANK
It strikes me, that there's a
considerable amount of bullshit
going on here.... And there's one
or two things I'd like to clear up.
Number one, it's not my fault the
play was lousy. Number two, it's
sure as hell not my fault you
didn't turn out to be an actress,
and the sooner you get over that
little piece of soap opera the
better off we'll both be. Number
three, I don't happen to fit the
role of dumb, insensitive suburban
husband; you've been trying to hang
that one on me ever since we moved
here. Number four -
She opens the door and is out of the car, flashing across the
headlights. Frank struggles with his door.
8.
EXT. HIGHWAY SHOULDER - NIGHT.
April stands in the dark 30 yards from the road looking over
an expansive countryside. There's only a few lights in the
distance. This is still farmland.
Frank comes up behind her, careful to keep his distance.
FRANK
What the hell are you doing? Come
back to the car.
APRIL
No. Just let me stand here a
second.
Frank raises his arms in exasperation. A car approaches. He
puts a hand in his pocket and tries to look casual. The
car's headlights light up April's back, then pass.
FRANK
April?
She doesn't move.
FRANK (CONT'D)
Look, can't we sit in the car and
talk about it, instead of running
all over Route Twelve?
APRIL
Haven't I made it clear I don't
particularly want to talk about it?
FRANK
Okay. Jesus, I'm trying to be nice
about this thing.
APRIL
How kind of you. How terribly,
terribly kind of you.
FRANK
Wait a minute. I don't deserve
this.
9.
APRIL
You're always so wonderfully
definite, aren't you, on the
subject of what you do and don't
deserve?
She turns and walks past him back towards the car.
FRANK
Wait a minute!
He stumbles after her. Other cars whizz by, but he's past
caring.
FRANK (CONT'D)
Wait a minute, God damn it!
She leans against the car and folds her arms.
FRANK (CONT'D)
You listen to me. This is one time
you're not going to get away with
twisting everything I say.
APRIL
Christ, I wish you'd stayed home
tonight!
FRANK
You know what you are when you're
like this? You're sick. I really
mean that. You're sick!
APRIL
And you know what you are?
(eyes raking him)
You're disgusting.
FRANK
Oh, yeah?
APRIL
Just because you've got me safely
in this little trap, you think you
can bully me into feeling whatever
you want!
10.
FRANK
You in a trap! You in a trap!
Jesus, don't make me laugh!
APRIL
Yes, me.
(clutching at her chest)
Me! Me! Me! Oh, you poor, pathetic
little boy Look at you! Look at
you, and tell me how by any stretch
of the imagination you can call
yourself a man!
He raises his fist, she flinches away, and BONG! BONG! BONG!
BONG! He punches the hood of the car. Then, silence. The
look April gives him is probably the worst look he's ever
received: a look of pitying boredom.
FRANK
Don't look at me like that, April.
APRIL
Could we please go home now?
She calmly walks around and gets in the car. After a moment,
Frank follows...
INT. CAR - NIGHT.
They sit silently in the car in the darkness.
TITLE CARD: REVOLUTIONARY ROAD
EXT. WHEELER HOUSE - MORNING.
A small, attractive suburban house in the morning sunshine.
Frank walks out to the car, stops and looks back at the
house.
INT. WHEELER LIVING ROOM - MORNING.
April stands at the window. The SOUND of the car pulling
away.
11.
EXT. REVOLUTIONARY ROAD TRAIN STATION - MORNING.
Frank stands on a grey platform, amongst a crowd of
commuters. The morning commuter train eases into the
station.
INT. COMMUTER TRAIN - MORNING.
Frank sits against the train window holding a "New Yorker."
Around him, the train is crowded with men reading newspapers.
INT. GRAND CENTRAL PLATFORM - MORNING.
In one swift movement, all the doors of the commuter train
swing open as a hundred feet step down onto the platform.
INT. GRAND CENTRAL STATION - MORNING.
An empty stairwell in Grand Central: a tide of grim,
determined commuters rise into view. A mass of suits and
hats. Frank is amongst them.
EXT. MIDTOWN STREET - MORNING.
Knox Headquarters -- a squat, formidable structure. Thick
HONKING traffic. Crowded sidewalks.
Frank walks with the crowd past a display window: bright
cardboard images of fashionable women grin and point their
pencils at a list of product benefits - "SPEED, ACCURACY,
CONTROL."
Pride of place at the center of the display is a new Knox 500
Electronic Computer with a sign that reads: "Performs A Man's
Lifetime of Work in Just 30 Minutes!"
INT. KNOX BUILDING ELEVATOR - MORNING.
Frank rides crushed against the wall in a crowded elevator.
He glances over at -
MAUREEN GRUBE, 23, ripe, a little obvious, but undeniably
sexy. She meets his look. And looks away.
12.
INT. KNOX 15TH FLOOR, FRANK'S CUBICLE - MORNING.
Frank opens the bottom right drawer of his desk, props up his
feet and lights a cigarette.
JACK (O.S.)
I'm going to need your help this
morning, Old Scout.
Seated beside Frank, JACK ORDWAY, 40's, tall and effete with
greying hair, appears to be hard at work, hunched over a
file. He is, in fact, propping up his head with his hand
while shielding his eyes.
JACK (CONT'D)
For the next few hours, you're to
warn me of Bandy's every approach
and you may have to screen me from
public view in the likely event I
that I throw up. It's that bad.
FRANK
Good morning, Jack.
JACK
Nothing good about it, I assure
you.
EXT. WHEELER HOUSE - DAY.
April drags two overflowing garbage cans to the curb. She
stops and looks down the empty road. Not a single human
being in sight.
Close on April's face.
INT. MRS. GIVINGS' CAR - DAY, 1948. FLASHBACK.
Mrs. Givings sits behind the wheel, driving slowly along a
suburban street talking at high speed.
Frank sits beside her wearing sunglasses. April sits in the
back.
We don't yet see what Mrs. Givings is describing, only as it
plays on their faces.
13.
MRS. GIVINGS
Of course, I knew the moment you
came off the train what you were
looking for... A small remodeled
barn, or a carriage house And I
just hate to be the one to tell you
that sort of thing just isn't
available anymore... But I don't
want you to despair. There is one
place down here I want to show
you... Now of course it isn't very
desirable at this end.
(gestures)
As you see, Crawford Road is mostly
these little cinder-blocky, pick-up
trucky places plumbers,
carpenters, little local people of
that sort.
Frank turns around to April, lowers his glasses. April
stifles a giggle.
MRS. GIVINGS (CONT'D)
But eventually...
(she points, her arm fully
extended)
Eventually it leads up to
Revolutionary Road, which is much
nicer. Now, the place I want to
show you, is a sweet little house
and a sweet little setting.
Simple, clean lines, good lawns,
marvelous for children. It's right
around this next curve... Now,
you'll see it there.
They all look.
MRS. GIVINGS (CONT'D)
See the little white one? Sweet
isn't it? The perky way it sits
there on its little slope?
Charming, isn't it?
April smiles. A smile full of promise.
14.
APRIL
Oh, yes.
INT. BANDY'S OFFICE - DAY. PRESENT.
Frank's FIST raps against the door of an office...
TED BANDY, 46, tight and precise, looks up from behind a well-
organized desk.
FRANK
You wanted to see me?
Bandy holds out an envelope from behind his desk.
BANDY
Came for you from Toledo this
morning.
Frank reaches for it, but Bandy moves it out of reach.
BANDY (CONT'D)
This is the third one this month.
FRANK
Oh, right, sorry. I thought I'd
taken care of that...
Frank reaches again, but Bandy moves it. A little man
enjoying his power.
BANDY
I'm not prepared to have this
conversation again, Frank. You
understand?
FRANK
...Absolutely, yes.
BANDY
These folks in the provinces look
up to us, Frank. We need to be
efficient. We can't have this kind
of back and forth, and so forth.
It's just not efficient. Am I
right?
15.
FRANK
...Absolutely, yes, yes...
Bandy finally hands over the envelope.
INT. KNOX 15TH FLOOR, FRANK'S CUBICLE - DAY.
Frank sits at his desk.
JACK
What was that about?
FRANK
Toledo. Branch manager wants a
revised brochure for the conference
on "The Knox 500."
(impersonating Bandy)
"It's just not efficient."
JACK
(sharp inhale)
Sounds like a real goodie.
FRANK
I don't even know what the Knox 500
does... Do you?
JACK
Don't insult me.
Frank drops it in his In Box. Then, looking up, he sees
Maureen across the office. Thinks.
INT. KNOX 15TH FLOOR, MAUREEN'S DESK - DAY.
Frank stands over Maureen at her desk. The envelope from
Toledo lies in front of her.
FRANK
Now, if you'll look in the inactive
file under SP-1109 you'll find
copies of all the stuff we sent to
the agency... and that way we can
trace the thing back to its
original sources.
16.
She nods, jotting down a note.
For the first time, Frank allows himself to take in her
profile, her cleavage, her lips.
FRANK (CONT'D)
I hope you weren't planning on an
early lunch.
MAUREEN
I'm not really hungry.
FRANK
Good. I'll check on you later.
INT. ALGONQUIN HOTEL RESTAURANT - AFTERNOON.
Maureen and Frank sit in a secluded corner. Maureen sips a
martini. She's already a little drunk.
FRANK (CONT'D)
You know something? You're lucky
you met me.
MAUREEN
Oh? How's that?
FRANK
I can show you the ropes. There's
an art to survival at Knox. Let me
show you what I mean.
He waves over the waiter.
FRANK (CONT'D)
Bring me the telephone would you?
And two more martinis.
Maureen looks daunted at her empty glass.
MAUREEN
Wow.
The waiter brings over the phone. Frank dials. He holds his
finger to his lips. He uses an authoritative tone.
17.
FRANK
Hello Mrs. Jorgensen. Frank
Wheeler here. Just wanted to let
you know that I've had to send
Maureen Grube down to Visual Aides
for me. I'll probably need her the
rest of the day... Okay? Fine.
You too.
Frank hangs up and smiles at Maureen.
MAUREEN
I never even heard of Visual Aides.
FRANK
That's because it doesn't exist.
Maureen smiles.
INT. WHEELER HALLWAY - DAY.
Now we're moving behind April as she moves through the silent
house. She carries a basket of dirty laundry on her hip.
She pulls the bedding off the couch. The distant SOUND of
children playing.
MRS. GIVINGS (O.S.)
Yoo-hoo!
She turns to see Mrs. Givings at the screen door.
April manages a friendly smile.
APRIL
Hi Helen.
MRS. GIVINGS
I can't stay a minute... My, don't
you look comfy! I just wanted to
bring this sedum for that messy
patch in the front yard.
She puts it on the table.
18.
MRS. GIVINGS (CONT'D)
All it wants is just a tiny dollop
of water for the first few days,
and you'll find it absolutely
thrives.
APRIL
Well, thank you... You want some
coffee?
MRS. GIVINGS
Only if you're having some.
Helen sits down. With the end of her finger, she pushes a
dirty dish out of her way.
APRIL
Is there something I can do for
you, Helen?
MRS. GIVINGS
Oh... yes, I almost forgot. I do
have a small favor I'd like to
ask...
(quiver of anxiety )
It's about my son, John. He's been
in the hospital.
APRIL
I'm sorry to hear that.
MRS. GIVINGS
Well, actually, just for the
present, he's in Pleasant Brook...
Psychiatric.
April's face. She knows what it means.
APRIL
...I'm so sorry.
MRS. GIVINGS
Oh... Nothing serious. He just
got a little run down. Things can
just get the better of us
sometimes. Don't you think?
19.
APRIL
Yes. Of course.
Mrs. Givings smiles. Then, pretending to read the titles on
a stack of books on the table...
MRS. GIVINGS
It really is a marvellous facility
and the treatments seem to be doing
him wonders... Anyway, they said
getting out for an afternoon might
do him some good.
She pauses on Sartre's `Nausea', looks at it vaguely.
MRS. GIVINGS (CONT'D)
I think he finds my friends a
little conventional, frankly. I
mean, he's travelled. He has a PhD
in mathematics. I suppose you
could say he's an intellectual. It
would do him a world of good to
meet a young couple like you.
APRIL
We'd love to Helen.
MRS. GIVINGS
So, I thought perhaps if you had
some time...
APRIL
We'd love to.
MRS. GIVINGS
(flushed with relief)
Thank you, dear... Thank you.
April smiles generously.
MRS. GIVINGS (CONT'D)
I remember when you first came off
the train. You weren't like most
of my clients. You were different,
somehow.
April's face. She's listening.
20.
MRS. GIVINGS (CONT'D)
Well, you looked simply ravishing
and I just knew Frank did something
terribly brilliant in town. You
just seemed... special... Of
course you still are.
April takes this in.
INT. WHEELER HOUSE - AFTERNOON.
April watches from the picture window as Mrs. Givings walks
down the drive towards her car. Her face is reflected in the
glass. Something is taking shape in her mind.
INT. ALGONQUIN RESTAURANT BAR - AFTERNOON, LATER.
The dining room is now almost empty. Waiters and busboys eat
in the corner.
Frank cuts a solitary figure. He lights his last cigarette
and crumples the pack.
MAUREEN (O.S.)
I guess you got me a little drunk.
Maureen slides into the booth. She stares at the table,
trying to focus.
FRANK
You know what today is?
MAUREEN
...Monday?
FRANK
It's my birthday. I'm thirty years
old today.
MAUREEN
Happy birthday!
Maureen raises her glass, then sways drunkenly.
21.
MAUREEN (CONT'D)
What was the name of the department
you made up again?
FRANK
Visual Aides.
MAUREEN
...What-a-joke.
He sips his drink.
FRANK
Want to hear a real joke...?
She looks up at him.
FRANK (CONT'D)
My old man worked at Knox.
MAUREEN
Yeah?
FRANK
He was a salesman in Yonkers. Once
a year he used to take me into the
city for lunch. It was supposed to
be a special, life-advice sort of
occasion.
MAUREEN
Nice.
FRANK
Not really... I used to sit there
and think, `I hope to Christ I
don't end up like you.'
Frank grins as if it's supposed to be very funny.
FRANK (CONT'D)
And here I am, a thirty year old
Knox man. Can you beat that?
MAUREEN
I think I kind of lost you... Your
father worked for Knox...?
(MORE)
22.
MAUREEN (CONT'D)
I'm sorry, but everything's kinda
going out of focus.
Frank takes her arm to steady her. She meets his eye.
FRANK
How `bout some air?
INT. WHEELER KITCHEN - DAY.
Close on a hand opening an old cigar box.
April is sitting with the box at the kitchen table. It
contains various sentimental knickknacks from her past,
including photos of the kids, of her and Frank in New York
with friends, and a photograph of Frank in uniform beneath
the Eifel tower on liberation day... She studies it.
INT. BETHUNE STREET APARTMENT - DAWN, 1947. FLASHBACK
Frank fixes coffee in the tiny kitchen.
April is sitting up in bed in the first blue light of day
wearing Frank's T-shirt. She holds a curled collection of
black and white photographs in her lap. She stops on the
same picture of Frank and the Eifel Tower.
Frank comes over with the coffee, and two cigarettes. He
lights them both, and gives her one.
FRANK
You ever been to Paris?
APRIL
I've never really been anywhere.
FRANK
Maybe I'll take you with me.
He lies down with his cigarette between his teeth.
FRANK (CONT'D)
I'm going back first chance I get.
People are alive there.
He stares up at the ceiling. She studies him. Appraising.
23.
FRANK (CONT'D)
All I know now is that I want to
feel things. Really feel them.
How's that for an ambition...?
APRIL
Frank Wheeler?
FRANK
Mm?
APRIL
I think you're the most interesting
person I've ever met.
He looks at her, overwhelmed by her face in the light.
APRIL (CONT'D)
I mean it.
INT. MAUREEN'S APARTMENT - AFTERNOON
Frank stands at the mantle tying his tie.
FRANK
Well, I guess this wasn't what you
had in mind when you went to work
this morning?
Maureen covers herself with the sheets.
MAUREEN
No. It certainly wasn't.
Frank inspects the contents of the mantle: photos of Maureen
at the prom; Maureen with her parents.
Maureen tentatively fingers her hair that has now gone to
frizz. The sheet slips down. She grabs at it. Then wills
herself to calm down and act sophisticated.
MAUREEN (CONT'D)
Do you have a cigarette, Frank?
He turns and smiles at her.
24.
FRANK
Sure, here.
He comes over and gives her one. Lights it with his Zippo.
She exhales, slowly gaining confidence.
Frank gets up and pulls on his jacket.
MAUREEN
Can I get you a drink or anything?
FRANK
No thanks, Maureen. Actually, I
guess I'd better be cutting out,
it's getting kind of late.
MAUREEN
Gee, that's right. Have you missed
your train?
FRANK
It's all right, I'll get the next
one.
He comes over to her. Bends down, kisses her gently on the
lips.
FRANK (CONT'D)
Listen: you were swell. Take care
now.
INT. FRANK'S STATION CAR/WHEELER HOUSE - NIGHT.
Frank's station car turns into the driveway. He sits there a
moment in the darkness.
EXT. WHEELER FRONT DOOR - NIGHT.
Frank approaches the door with his key. He takes a moment to
gather himself, but before he can, the door opens.
April is dressed in a black cocktail dress. She looks
wonderful. She smiles. She steps forward and takes his face
in her hands. She kisses him.
25.
APRIL
Frank...
FRANK
Why are you all dressed up?
She hands him a glass of whiskey and closes his fingers
around it.
APRIL
First of all, I missed you all day
and I want to say I'm sorry. I'm
sorry for the way I've been since
that stupid play. I'm sorry for
everything and... And I love
you... Now wait here till I call
you. Okay?
She goes, leaving Frank in stunned silence. He takes a large
drink.
From inside the house, the sound of the children's voices.
Whispering, giggling. Then April's voice:
APRIL (O.S.) (CONT'D)
Alright Frank! You can come in
now!
INT. WHEELER LIVING AND DINING ROOMS - NIGHT.
Frank enters the house. Walks through the darkened living
room towards the light. Enters the dining room.
The room is lit by the candles burning on a birthday cake.
JENNIFER, 7, MICHAEL, 5, and April sit around the table
wearing paper birthday crowns.
They sing Happy Birthday.
INT. SHOWER - NIGHT.
Frank scrubs his skin, his scalp, his face: trying to wash
away Maureen.
26.
He turns off the water. He stands there in the silence,
regaining control.
INT. FRANK AND APRIL'S BEDROOM - NIGHT.
Frank steps out of the bathroom. April turns from the mirror
wearing the silk negligee and comes towards him with two
glasses.
APRIL
Frank. I have had the most
wonderful idea. I've been thinking
about it all day.
FRANK
What's all this about?
APRIL
You know how much money we have
saved...?
She hands Frank a glass of brandy.
APRIL (CONT'D)
Enough to live on for six months
without you earning another dime.
And with the money we could get
from the house and the car, longer
than that.
FRANK
What we get for the house...What
are you talking about? Where are
we going to live?
APRIL
...Paris.
Frank stares.
APRIL (CONT'D)
You always said it was the only
place you'd ever been that was
worth living. So why don't we go
there?
27.
FRANK
You're serious?
APRIL
Yes. What's stopping us?
FRANK
What's stopping us? Well, I can
think of a lot of things. For
instance, what kind of a job could
I possibly get?
APRIL
You won't be getting any kind of
job, because I will.
Frank laughs.
FRANK
Oh, right.
APRIL
Don't laugh -- listen a minute!
Have you any idea what they pay for
secretarial positions in the
government agencies in Europe?
Embassies and those things.
Frank laughs again.
FRANK
No, I don't.
APRIL
I'm serious about this Frank. Do
you think I'm kidding or something?
FRANK
No, I know, I know. I just have a
couple of questions, is all. For
one thing, do you mind telling me
what exactly I'm supposed to be
doing while you're out earning all
this money?
She draws back, shocked that he doesn't get it.
28.
APRIL
Don't you see that's the whole
idea? You'll be doing what you
should've been allowed to do seven
years ago. You'll have time,
Frank. You'll have time to find
out what it is that you actually
want to do, and when you figure it
out you'll have the time and the
freedom to start doing it.
FRANK
Sweetheart, it's just not very
realistic, is all.
APRIL
Well, I happen to think this is
unrealistic. I think it's
unrealistic for a man with a fine
mind to go on working like a dog
year after year at a job he can't
stand, coming home to a place he
can't stand, to a wife who's
equally unable to stand the same
things.
Frank is silent. How could anyone possibly argue with her?
APRIL (CONT'D)
You want to know the worst part?
Our whole existence here is based
on this great premise that we're
somehow very special and superior
to the whole thing, and you know
what I've realized...? We're not!
We're just like everyone else.
Look at us! We've bought into the
same ridiculous delusion. This
idea that you have to resign from
life and settle down the moment you
have children. And we've been
punishing each other for it.
FRANK
Listen: we decided to move out
here. No one ever forced me to
take the job at Knox.
(MORE)
29.
FRANK (CONT'D)
I mean who ever said I was supposed
to be a big deal, anyway?
APRIL
When I first met you, there was
nothing in the world you couldn't
do or be.
FRANK
I was a little wise guy with a big
mouth, that's all.
APRIL
You were not! How can you even say
that?
FRANK
...All right... So, I'll have
time. And God knows that's
appealing. It's very appealing.
And I mean, everything you say
might make a certain amount of
sense, if I had some definite
talent maybe. If I were an artist
or a writer.
APRIL
But Frank, listen to me: It's what
you are that's being stifled here.
It's what you are that's being
denied and denied and denied in
this kind of life.
FRANK
And what's that?
APRIL
Don't you know...?
He looks at her. She gazes back at him.
APRIL (CONT'D)
You're the most valuable and
wonderful thing in the world...
You're a man.
30.
Frank looks at her. In that moment, he loves her more than
ever before. He kisses her.
APRIL (CONT'D)
This is our chance, Frank. This is
our one chance.
Beat.
FRANK
Okay.
APRIL
Okay?
FRANK
Why not...? Why the hell not?
April throws her arms around him.
INT. KNOX 15TH FLOOR, ELEVATOR BAY - MORNING.
DING. The elevator doors slide open. Frank steps onto the
fifteenth floor, full of energy.
INT. KNOX 15TH FLOOR, FRANK'S CUBICLE - MORNING.
Frank arrives at his desk. Casually tosses his briefcase
down. Lights a cigarette.
Jack stands nearby making idle chat with office co-workers,
ED SMALL, 36 and VINCE LATHROP, 33 - a pair of overgrown
children.
JACK
Ah, Franklin. Good to see your
shining face. What's the news?
FRANK
I'm moving to Paris.
JACK
Right. And I'm moving to Tangiers.
Frank shrugs, smiles, picks up the Toledo file, scans it.
31.
He reaches for his Dictaphone and clears his throat.
FRANK
...Intra-company letter to
Toledo... Attention B.F. Chalmers,
branch manager... With regard to
recent and repeated correspondence,
this is to advise that the matter
has been... very satisfactorily
taken in hand, period, paragraph.
He takes out a cigarette.
FRANK (CONT'D)
We wholly agree that the existing
brochure is unsuitable. To this
end we have developed...
He lights the cigarette with a SNAP of his Zippo.
FRANK (CONT'D)
"Speaking of Production Control..."
Smiles. He's making it up as he goes, and enjoying it. It's
all meaningless now!
INT. AMERICAN EXPRESS OFFICE - DAY.
April sits in the American Express office.
CLERK (O.S.)
Here you are Mrs. Wheeler:
A handsome CLERK smilingly hands her a stack of documents.
CLERK (CONT'D)
Here's the travellers checks you
asked for... and your steamer
reservations... and these I'll pass
on to the embassy for you.
APRIL
Thank you.
She looks at them in her hands: it's real.
32.
CLERK
Good luck.
April smiles.
INT. MIDTOWN RESTAURANT - DAY.
Jack, Frank, Ed and Vince sit crammed in a booth in a tiny,
crowded Midtown Luncheonette.
Frank looks pleased with himself. The rest sit in stunned
silence.
JACK
And when does this noble experiment
commence?
FRANK
September. October at the outside.
Jack and Vince exchange a look.
Frank's enjoying the effect.
FRANK (CONT'D)
I just happen to think people are
better off doing some kind of work
they actually like.
ED
(vague)
Right, yes.
VINCE
(mumbled)
Absolutely, absolutely.
JACK
But... I mean, assuming there is a
true vocation waiting for you.
Wouldn't you be just as likely to
discover it here as there?
A waitress puts the check on the table.
33.
FRANK
No... I don't think it's possible
to discover anything on the
fifteenth floor of the Knox
building, and I don't think any of
you do either.
The men are silent. Frank picks up the check.
FRANK (CONT'D)
This one's on me.
EXT GRAND CENTRAL STATION - AFTERNOON
Frank is standing leaning against a coffee bar in Grand
Central Station. He is finishing a beer.
It is rush hour, and amidst the sea of people, he is the only
one not moving.
He is watching all the people walking by with an air of
detached amusement. As if he were now above them all.
EXT. SPACE BETWEEN TRAIN CARS - AFTERNOON.
Frank rides between train cars. The wind whips his hair. He
takes a deep pull from a pinched cigarette - then flicks it
straight as a bullet into the passing countryside.
He feels alive.
EXT. REVOLUTIONARY ROAD TRAIN STATION - AFTERNOON.
The commuter train slows into the station. A door swings
open. And Frank leaps from the still moving train onto the
platform. He slows to a walk.
EXT. WHEELER HOUSE - LATE AFTERNOON.
The kids dance back and forth through the sprinkler,
shrieking with pleasure.
April sits on the steps in front of the house reading some
material from the American Express office.
34.
She looks up as Frank's car pulls into the drive. He steps
out of the car and comes towards her. She looks up and
smiles. He drops his brief case on the ground and walks
towards her. She meets him in the middle of the lawn, and
they embrace.
INT. FRANK AND APRIL'S BEDROOM - EVENING.
CLOSE UP - two fingers walk the journey from New York to
Paris across the page of an atlas.
Michael and Jennifer, dressed for bed, sit sandwiched between
April and Frank under the bedclothes.
APRIL
...All the way to... here.
A pause as the two kids stare at the Atlas.
JENNIFER
But why?
APRIL
Well, sweetheart. It's a big world
out there and we thought maybe we
should go see a little bit of it.
MICHAEL
How far is it?
APRIL
A long way. We have to take a
boat ride over the sea to get
there.
JENNIFER
I won't know anyone there.
APRIL
I know. And neither will I. But
remember when you started school?
And now look how many friends you
have...
Frank senses that they are a little concerned. April and
Frank look to one another.
35.
FRANK
You'll never guess what they eat in
Paris. You'll never guess...
JENNIFER
What?
FRANK
Snails.
JENNIFER/MICHAEL
Snails?!
APRIL
And frog's legs!
The children dissolve into disgusted laughter. April and
Frank laugh with them.
INT. CAMPBELL FRONT HALLWAY - LATE AFTERNOON.
At the bottom of the stairs, Shep hums a big band number as
he vigorously shines his shoes.
SHEP
Buddappa banh! Banh! Banh!
He takes a swig of beer and lets out a satisfied belch.
INT. MILLY AND SHEP'S BEDROOM - LATE AFTERNOON.
Milly sits at a vanity table doing her face. She wears a
floral dress and her hair's been done. She looks at Shep in
the mirror.
MILLY
You better get changed, they'll be
here soon.
SHEP
That what you're wearing?
MILLY
(panic)
Don't you like it?
36.
SHEP
...No... No. You look great,
doll. Guess I better haul ass.
He walks into the bathroom. Milly looks back at her
reflection.
INT. CAMPBELL KITCHEN - LATE AFTERNOON.
The small explosion of a beer can opening.
Shep watches the golden liquid fill his glass.
INT. CAMPBELL FAMILY ROOM - LATE AFTERNOON.
Shep walks through the living room with his glass of beer.
He's halfway across the room, before he notices -
His four SONS dressed in matching pajamas, propped up on
their elbows chewing gum at the television screen.
SHEP
Hiya gang.
They don't even look up.
EXT. CAMPBELL HOUSE - EVENING.
Shep walks across the grass to the edge of his property. He
drinks and looks down over Revolutionary Road. He can see
the Wheeler house. He takes a drink of beer, his eyes
focused on the house.
MILLY (O.S.)
Shep?
Shep wheels around. April and Frank are standing there with
Milly. April wears a new indigo silk dress. Her hair moves
in the warm breeze. She's never looked better.
INT. CAMPBELL LIVING ROOM - NIGHT.
Shep mixes drinks with his back to the room.
37.
Milly walks in and places two heaping trays of hors d'ouvres
on the coffee table.
APRIL
Oh those look great. I'm starving!
April helps herself.
MILLY
April, I can't get over it - you
look like the cat who ate the
canary! Do you have something to
tell us? A little bit of news?
SHEP
(disapproving)
Not to pry or anything.
MILLY
(suddenly unsure)
I'm not prying. Am I prying? I
didn't mean to.
FRANK
Actually, we have got some pretty
important news.
Shep and Milly look up expectantly.
He smiles conspiratorially at April.
FRANK (CONT'D)
You want to tell `em?
April smiles back at him.
APRIL
We're going to Europe. To Paris...
To live.
Milly's face drops. Shep is frozen.
Overlapping:
MILLY
What?
38.
SHEP
When?
MILLY
Why?
FRANK
September.
Beat. Then:
MILLY
But what for?
FRANK
What for? Because we've always
wanted to. Because the kids are
still young. Because it's
beautiful. Shep, you tell her.
SHEP
...It's a great city.
Milly glances nervously at Shep.
MILLY
When did you make this decision?
APRIL
Oh... about a week ago... its hard
to remember. We just suddenly
decided to go, that's all.
MILLY
About a week ago, and you tell us
now!
APRIL
We had to get used to the idea.
Shep forces himself across the room and hands the Wheelers
their drinks.
SHEP
So, what's the deal, Frank? You
get a job over there, or what?
39.
FRANK
(smiles)
No. Not exactly.
SHEP
What do you mean, `not exactly?'
APRIL
Frank won't be doing any kind of a
job, because I will.
SHEP
(to Frank)
And what are you going to do?
FRANK
I'm going to study... and I'm going
to read and... I suppose I'm going
to finally figure out what I want
to do with my life.
SHEP
...While she supports you?
Beat.
FRANK
Yes. While she supports me... At
least in the beginning.
APRIL
You wouldn't believe what they pay
for secretarial work in government
agencies over there. NATO and
E.C.A. and those places.
FRANK
The cost of living is dirt cheap
compared to here, so we should be
all right.
Beat.
APRIL
The truth is we just need something
different.
(MORE)
40.
APRIL (CONT'D)
We're not getting any younger and
we don't want life to just pass us
by.
MILLY
Gee, it sounds wonderful, kids. I
mean it; it really sounds
wonderful. We'll certainly miss
you, though - won't we, sweetie?
Golly.
SHEP
Sure.
MILLY
Paris. Wow.
A silence. Shep's face.
INT. MILLY AND SHEP'S BEDROOM - NIGHT.
Milly sits on the edge of the bed in her night gown. She is
brushing her hair.
Shep stands in the open doorway to the bathroom, doing up his
pyjamas. After a beat...
SHEP
You know what I think?
Milly looks up.
SHEP (CONT'D)
I think this whole plan sounds a
little immature.
Milly's face brightens.
MILLY
Oh God, I'm so relieved. Me too...
I was thinking that the whole time.
SHEP
What kind of man is going to sit
around in his bathrobe picking his
nose while his wife works all day?
41.
MILLY
I don't know, Shep. I just don't
know.
Milly is crying.
SHEP
What is it?
MILLY
Nothing. I'm just so relieved.
He sits down beside her. She falls into his arms.
SHEP
Come on. Don't cry. Please. It's
all right. It's going to be all
right.
A kid's shout from somewhere in the house. Milly sits up.
SHEP (CONT'D)
I'll go.
INT. WHEELER KITCHEN - LATER THAT NIGHT.
Frank and April burst into the kitchen, laughing.
FRANK
Jesus, their faces! You'd think
we'd told them that we were
swimming up the Yangtzee river or
something.
Laughing, April hands Frank a drink.
FRANK (CONT'D)
You know what this is like, April?
Talking like this? The whole idea
of taking off to Europe this way?
It's like the way I felt going up
to the line the first time, in the
war. I was probably just as scared
as everyone else, but inside I
never felt better. I felt alive. I
felt full of blood.
(MORE)
42.
FRANK (CONT'D)
And everything looked more real.
The guys in their uniforms. The
snow on the fields, the trees. And
all of us just... walking. I mean
I was scared of course. But I kept
thinking: this is it. This is the
truth.
APRIL
I felt that way once too.
He looks at her. And there's something in her eyes.
FRANK
When?
APRIL
The first time you made love to me.
He walks over to her and kisses her passionately.
And they make love that way, face to face, with the lights
on, looking into each other's eyes, fully clothed, until he
comes inside her.
As he comes, she makes a sound, almost inaudible, but it
sounds like...
APRIL (CONT'D)
...No
He holds her, breathing heavily. She strokes his head.
INT. KNOX 15TH FLOOR - DAY.
Frank walks across the 15th floor, the atmosphere unusually
abuzz.
He arrives in his cubicle. Jack, Ed and Vance are talking in
hushed tones.
FRANK
What's up?
ED
Bart Pollock is here.
43.
VINCE
He's in Bandy's office.
FRANK
(unimpressed)
Yeah?
A small signal light illuminates on Frank's desk.
ED
Looks like he wants to talk to you.
Frank looks around. They're all looking at him. He looks
over in the direction of Bandy's office.
JACK
Hey. Keep my name out of it.
INT. KNOX 15TH FLOOR, BANDY'S OFFICE - DAY
Bandy looks up from his desk. An uncharacteristic smile.
BANDY
(warm)
Frank. How are you? You know Bart
Pollock?
FRANK
Well, we've never met, but -
A massive MAN in tan gaberdine rises up from a chair.
BART POLLOCK
Glad to know you Frank.
He holds a file in his enormous hand.
BART POLLOCK (CONT'D)
Speaking of production control?
Frank looks away, ready for a dressing down.
BART POLLOCK (CONT'D)
Frank... This is a crackerjack.
They're just tickled to death in
Toledo.
44.
He slaps the file on the desk. Frank can't believe it.
INT. WHEELER LIVING ROOM - DAY.
Close of a book: "Brighter French."
Frank sits on the couch, flipping absently.
FRANK
You wouldn't have believed this
guy.
April enters carrying a plate of sandwiches.
FRANK (CONT'D)
He's perfect Presidential material
in the worst sense. A million
dollar smile and about three pounds
of muscle between his ears.
(mimicking Pollock's
booming voice)
"Frank, this is a crackerjack."
April looks around to be sure everything's in place.
APRIL
Wish I saw his face when you told
him you were leaving.
Frank looks away.
FRANK
...Horse's ass.
TOOT of a car horn. April goes to the window.
APRIL
I think this is them.
INT./EXT. WHEELER HOUSE - DAY.
Through the picture window, we see the Givings' car is parked
in the driveway.
Mrs. Givings gets out of the car holding a tinfoil covered
baking pan. Mr. Givings opens the backseat.
45.
Out steps JOHN, 30's, an institutional haircut and ill-
fitting suit. He looks around the sunny neighborhood.
INT. WHEELER KITCHEN - DAY.
The kitchen is suddenly crowded with the Givings, Frank and
April.
Overlapping:
MRS. GIVINGS
Sorry to be late.
APRIL
You're not late.
MRS. GIVINGS
The traffic was terrible.
MR. GIVINGS
Good to see you.
MRS. GIVINGS
Wasn't it terrible, Howard?
MR. GIVINGS
Route 12.
Hands are shook, the baking dish exchanged.
APRIL
You didn't have to do that.
FRANK
The time they finish that stretch
of road, they'll have to start all
over again.
John stands by himself closest to the door.
APRIL
And you must be John?
Silence settles over the room.
MRS. GIVINGS
Say hello, John.
46.
JOHN
Nice to meetcha. Heard a lot
aboutcha.
John smiles, exposing a mouthful of deeply-stained yellow
teeth and high, eroded gums.
INT. WHEELER LIVING ROOM - DAY.
Mrs. Givings leads the group into the living room.
MRS. GIVINGS
Where are your darling children?
APRIL
They're at a birthday party. Sorry
they couldn't be here.
John walks around the room, stiff-legged, examining the book
shelves, the paintings.
JOHN
Don't worry. If I had a certified
lunatic coming around the house,
I'd probably get the kids out of
the way too.
April and Frank exchange a quick glance.
MRS. GIVINGS
Oh, look at all this food! You
didn't have to go to any trouble
for us.
APRIL
It's just some sandwiches.
April lifts the plate and offers it to John.
APRIL (CONT'D)
John, would you like a sandwich?
He avoids her look, but he takes four.
JOHN
Helen's been talking it up about
you people for months.
(MORE)
47.
JOHN (CONT'D)
The nice young Wheelers on
Revolutionary Road, the nice young
Revolutionaries on Wheeler road.
Polite laughter.
FRANK
Who'd like some sherry?
MRS. GIVINGS
Please, don't bother Frank.
JOHN
I'd like some sherry. And I'll
drink Helen's if she doesn't beat
me to it.
April can't suppress a smile.
JOHN (CONT'D)
(suddenly serious)
But, hey... Listen, though. You
got a high-ball glass...? Put a
couple-three ice cubes in it, pour
it up to the brim. That's the way
I like it.
FRANK
I think I can do that.
Mr. Givings eats his sandwich, watching his son.
MRS. GIVINGS
Oh, this is the most wonderful egg
salad, April. You must tell me how
you fix it.
Frank hands John his high-ball glass.
JOHN
You a lawyer Frank?
FRANK
No, I'm not.
JOHN
I could use a lawyer.
48.
MR. GIVINGS
John, let's not get started again
about the lawyer.
JOHN
Pop, couldn't you just sit there
and eat your wonderful egg salad,
and quit horning in?
Mr. Givings gives his son a level, warning look.
JOHN (CONT'D)
See, I've got a good many questions
to ask and I'm willing to pay for
the answers... Now, I don't need
to be told that a man who goes
after his mother with a coffee
table is putting himself in a weak
position legally; that's obvious.
Frank and April exchange a look.
MRS. GIVINGS
John, come and have a look out this
fabulous picture window.
Mrs. Givings gets up and goes to the window.
JOHN
If he hits her with it and kills
her, that's a criminal case.
MRS. GIVINGS
Oh, look, the sun's coming out!
JOHN
If all he does is break the coffee
table and give her a certain amount
of aggravation and she decides to
go to court over it, that's a civil
case.
MRS. GIVINGS
Maybe we'll see a rainbow! John,
come have a look.
49.
JOHN
Ma, how about doing everybody a
favor? How about shutting up!
April's face. She's not smiling now.
MR. GIVINGS
Steady down, now.
With her back to the room, Mrs. Givings closes her eyes.
FRANK
I can look into it. Maybe
recommend someone.
John stares at Frank for any sign of condescension.
JOHN
So, what do you do, Frank?
FRANK
I work for Knox Business Machines.
JOHN
You design the machines?
FRANK
Nope.
JOHN
Make `em, sell `em, repair `em?
MRS. GIVINGS
All these questions.
FRANK
I sort of help sell them, I guess.
I work in the office. Actually,
it's sort of a stupid job. I mean
there's nothing you know,
interesting about it or anything.
MRS. GIVINGS
Oh, Frank...
JOHN
Whaddya do it for then?
50.
MR. GIVINGS
Maybe Frank doesn't want to be
questioned like this, son.
JOHN
Okay, okay, okay I know it's none
of my business. And besides, I
know the answer. You want to play
house, you got to have a job. You
want to play very nice house, very
sweet house, then you got to have a
job you don't like. Anyone comes
along and asks "Whaddya do it for?'
he's probably on a four-hour pass
from the State funny farm. All
agreed...? Ma?
Frank laughs.
John smiles his yellow grin.
MR. GIVINGS
Sorry, Frank.
FRANK
Don't be. I agree with everything
you said, John. We both do.
That's why I'm quitting the job in
the fall and we're taking off.
APRIL
We're moving to Paris.
John looks over at his mother.
JOHN
Did you know about this, Ma...?
Wow. How do you feel about that,
Ma? The nice young Wheelers are
taking off!
John bursts into a painful braying laugh. It goes on and on.
Mrs. Givings brings a hand to her brow - she's on the verge
of tears.
51.
MRS. GIVINGS
...John, please.
MR. GIVINGS
Steady down, son.
April looks at Frank - the whole thing is in danger of going
off the rails.
FRANK
How about some fresh air, John?
John stops laughing abruptly. He looks to his parents.
FRANK (CONT'D)
If that's all right with you?
MRS. GIVINGS
I don't know if it's a good idea.
MR. GIVINGS
...If John wants to, I don't see
the harm.
EXT. COUNTRYSIDE - DAY.
Frank, April and John walk through the woods.
The ground is freshly rained on and damp. The sun is bright.
John buttons up his top button and pulls his sleeves down
over his hands.
APRIL
I hear you're a mathematician.
JOHN
You hear wrong. It's all gone now.
APRIL
All gone?
JOHN
You know what electrical shock
treatments are?
52.
APRIL
Yes. Yes I do.
JOHN
I've had thirty-seven.
He pushes his hat back and turns his head at April.
JOHN (CONT'D)
See?
There are scars on his forehead. April can see them.
JOHN (CONT'D)
Supposed to jolt out the `Emotional
Problems.' Just jolted out the
mathematics.
APRIL
How awful.
JOHN
(mimicking)
`How awful...' Why, because
mathematics is so `interesting?'
APRIL
No. Because the shocks must be
awful and... well, because it's
awful not to be able to do what it
is you want to do. I think
mathematics are dull.
John stares at April. He smiles.
JOHN
I like your girl, Frank.
FRANK
Me too.
JOHN
So, what do a couple of people like
you have to run away from?
FRANK
We're not running.
53.
John comes to a stop.
JOHN
And what's in Paris?
APRIL
A different way of life.
FRANK
So maybe we are running... We're
running from the hopeless emptiness
of the whole life here.
JOHN
The hopeless emptiness? Now,
you've said it. Plenty of people
are on to the emptiness, but it
takes real guts to see the
hopelessness... Wow.
John continues walking. Frank and April watch him go.
INT. WHEELER LIVING ROOM - DUSK.
Frank and April at the kitchen table.
APRIL
You know, he's the first person who
seemed to know what we were talking
about.
FRANK
That's true. Maybe we are just as
crazy as he is.
APRIL
If being crazy means living life as
if it matters then I don't care if
we are completely insane.
(beat)
Do you?
FRANK
No.
APRIL
I love you so much.
54.
EXT. WHEELER HOUSE - DAY
The small, attractive house bathed in sunlight.
INT. MIDTOWN HOTEL RESTAURANT - AFTERNOON.
Frank follows Bart Pollock as he cuts a swathe through an
impressive midtown eatery. A small MAITRE D' scuttles in
front of them. Bart nods, points at well-wishers, and makes
a politician's show of knowing the staff.
BART POLLOCK
Tell you something, Frank. I'm a
little sore at Bandy for the way
he's kept you under a bushel all
these years. This place okay, for
you?
Frank smirks at the performance.
FRANK
This is just fine, sir. Fine.
INT. MIDTOWN HOTEL RESTAURANT - LATER.
Bart Pollock sits across an expanse of white tablecloth
gripping a martini glass in one of his enormous paws.
BART POLLOCK
One thing interests me, Frank, and
one thing only: selling the
electronic computer to the American
businessman...
BART POLLOCK (CONT'D)
That's why I'm assembling a team.
Men like you, not your average
salesmen... It'll mean more money,
and I got to be honest, maybe more
of a time commitment. But you'll
be part of something exciting,
Wheeler... Computers.
FRANK
Well, sir, it sounds exciting.
55.
BART POLLOCK
Bart!
FRANK
Bart...
Frank looks down at his plate. He can't help himself.
FRANK (CONT'D)
Do you happen to remember an Earl
Wheeler?
Bart looks at him blankly.
FRANK (CONT'D)
Out of Yonkers?
BART POLLOCK
Can't say that I do. Relation of
yours?
FRANK
My father. He worked at Knox
almost twenty years.
BART POLLOCK
(thinking)
Earl Wheeler... Earl Wheeler...
FRANK
No reason you would have heard of
him.
BART POLLOCK
Well, I'm sure he was a good man.
Frank smiles. Looks down.
FRANK
There's something I should have
mentioned earlier... I'm leaving
the firm. In the fall.
BART POLLOCK
Another outfit?
FRANK
No, it's not another outfit --
56.
Bart holds up his hands.
BART POLLOCK
Now look, Frank. Is it a question
of money? Because if it is,
there's no reason we can't get
together on a satisfactory
FRANK
I appreciate that, but it's not
money. It's more of a personal
thing.
BART POLLOCK
A personal thing? I see.
(looks down, clearly
disapproving)
Frank... Let me tell you something
my father told me... A man only
gets a couple chances in life. If
he doesn't grab `em by the balls,
it won't be long before he finds
himself sitting around wondering
how he got to be second rate.
Frank's face.
FRANK
I guess so.
Bart lets it hang.
BART POLLOCK
So, do me a favor... Sleep on it.
Discuss it with your wife. Because
let's face it: where the hell would
any of us be without our wives,
anyway?
On Frank's face.
BART POLLOCK (CONT'D)
And Frank, in all sincerity, if you
do decide to join us, I believe
it'll be a thing you'll never
regret.
(MORE)
57.
BART POLLOCK (CONT'D)
And I believe something else, too.
I believe it'd be a fine memorial
to your Dad.
Frank finds himself surprised by his welling up of emotion.
INT. KNOX BUILDING - EVENING.
It's late. Frank is sitting in his cubicle over his
Dictaphone. Jack is long gone.
FRANK
Knowing what you've got, comma,
knowing what you need, comma,
Knowing what you can do without,
dash. That's inventory control.
He stubs out a cigarette in an overflowing ashtray.
Close on his face.
Maureen stops by Frank's cubicle. She pretends to be
surprised to see him.
MAUREEN
Oh, hi Frank. Working late?
FRANK
I got to dig myself out here.
MAUREEN
I heard you were getting promoted.
Frank shrugs, no big deal.
MAUREEN (CONT'D)
Big shot. I guess your Dad would
have been real proud, huh?
FRANK
(surprised she remembered)
Huh. Yeah, I guess so...
MAUREEN
(smiles sweetly)
So...
(MORE)
58.
MAUREEN (CONT'D)
maybe I should buy you a drink or
something? You know...?
Celebrate.
Frank's face. We don't know which way he'll go. He smiles.
FRANK
Yeah. Maybe.
She smiles. She can't quite believe it.
MAUREEN
I'll just get my coat.
Frank sits there a moment longer, thinking. Then he follows.
INT. WHEELER FAMILY ROOM - DAY.
On a television. Elmer Fudd points a gun at Bugs Bunny, and
pulls the trigger.
Frank frowns into his French phrase book. Mike is watching
the TV.
April works a sewing machine with a cigarette burning beside
her. Jennifer stands beside her holding a stuffed Giraffe
and a list, which she reads.
JENNIFER
I'm going to take my doll carriage
and my bear and my three Easter
rabbits and my giraffe and all my
dolls and my doll house.
APRIL
I thought maybe we'd give the doll
house to Madeline.
JENNIFER
No! I don't want to give it to
Madeline.
April has to stop to re-thread and she's losing patience.
59.
APRIL
I already explained to you, the big
things are going to be hard to
pack.
Frank lowers the book. He recognizes her tone.
JENNIFER
But Madeline can have my bear and
my Easter rabbits -
APRIL
No! Just the big things. Look.
Wouldn't you rather go outside and
play with Michael.
JENNIFER
I don't feel like it.
APRIL
You've been inside all day.
JENNIFER
I don't feel like it!
APRIL
Well, I don't feel like explaining
everything fifteen times to
somebody who's too bored and silly
to listen!
Jennifer turns and runs up the stairs, upset.
April lets out a defeated sigh. She turns to the kitchen to
see to the supper. Steam rises from the vegetables.
Frank stands in the entrance silently watching for a moment.
FRANK
What's the matter?
APRIL
Nothing.
She carries a pot of steaming, overcooked vegetables to the
sink, slops them into a colander.
60.
FRANK
I don't believe you. Did something
happen today or what?
APRIL
Nothing happened today that I
haven't known about for days and
days.
FRANK
What?
APRIL
Oh God, Frank, please don't look so
dense. Do you mean you haven't
guessed or anything?
FRANK
What are you talking about?
She finally stops and looks at him.
APRIL
I'm pregnant, that's all.
Beat as he absorbs it. He's totally blind-sided.
FRANK
What...? Jesus.
She comes over to him.
APRIL
Oh, Frank, I meant to wait until
dinner to tell you, but I just -
well, I've been pretty sure all
week and today I went to the Doctor
and now I can't even pretend it's
not true.
FRANK
(still stunned)
Jesus... How long?
APRIL
Ten weeks.
61.
FRANK
You didn't say anything.
APRIL
I thought... Oh, I don't know what
I thought.
He stares, still unsure how he feels.
APRIL (CONT'D)
I'm sorry, Frank. I'm so sorry.
FRANK
I know you are.
She looks at him, with slight desperation.
APRIL
We don't have to let this stop us.
There are things we can do.
Remember that girl at school I told
you about...? As long as you do it
before 12 weeks, it's fine.
He just looks at her and his silence makes her desperate.
APRIL (CONT'D)
We've got to be together in this,
Frank. Otherwise nothing's going
to make any sense.
FRANK
Okay. We'll figure it out.
He takes her in his arms.
FRANK (CONT'D)
12 weeks. So we have time.
On Frank's face... Slowly, he smiles.
APRIL
I love you Frank.
FRANK
...I love you too.
62.
EXT. LONG ISLAND SOUND BEACH - AFTERNOON.
A baking hot day. The sky is electric blue. Radios PLAY,
children CRY, dogs BARK. Sunbathers cover almost every inch
of sand.
We find Shep, Milly, Frank and April with beach chairs,
coolers and umbrellas.
A child wrapped in a towel sleeps on Milly's lap.
April wears a pair of dark glasses, behind which she is
thinking, thinking.
SHEP
So, Frank, how's work? They gonna
survive without you?
FRANK
Actually... Something kinda funny
happened the other day. I did some
dumb little piece of work to get
myself off the hook with Bandy, and
suddenly I'm The Bright Young Man.
SHEP
(laughs)
That's always the way, isn't it?
FRANK
It's incredible. I knocked this
thing off in a couple of minutes
and now they want me to join their
team of `specialist' salesmen.
SHEP
Morons.
FRANK
It'd be funny, if they weren't
talking about so much damn money.
April turns and looks at Frank. Long and hard. If he can
feel her look, he doesn't show it.
63.
SHEP
(stealing a glance at
April)
So, you tempted?
FRANK
(shrugs)
Well, it's kind of ironic, don't
you think?
April suddenly stands up. Frank and Shep watch her walk down
to the water's edge.
SHEP
She okay?
Frank stares after her.
EXT. LONG ISLAND SOUND BEACH, WATER'S EDGE - AFTERNOON.
April stands in the water staring out over the sea. The
waves break against her ankles. Whether it occurs to her or
not, she's staring in the direction of Europe.
Frank comes up beside her.
APRIL
I thought you turned the job down?
FRANK
(shrugs)
Not yet... It's just an option,
that's all. With the money they're
talking, things could be different
for us here. We could get a better
place. Travel.
April shakes her head and drags on her cigarette.
FRANK (CONT'D)
Look, the point is - we could be
happy here. At least for a while.
She stares out at the sea.
64.
FRANK (CONT'D)
It is possible that Parisians
aren't the only ones who know how
to lead interesting lives, April.
She turns to him.
APRIL
So you've made up your mind?
FRANK
No. Like I said, it's an option.
APRIL
...And supposing you're right. You
make all this money and we have
this interesting life here. Won't
you still be wasting your life
toiling away at a job you find
ridiculous? Just like your father.
FRANK
(sharp)
Maybe we let that be my business.
APRIL
(incredulous)
Your business?
FRANK
(exhales)
It's too hot for this. I'm going
to get wet.
She just looks at him. He walks into the ocean. She stands
on the shore, watching him swim away from her.
INT. WHEELER FAMILY ROOM - NIGHT.
April paces the family room. Her hair is a defiant mess.
She still wears her bathing suit under her clothes.
Frank sits on the couch.
The windows are open, and most of the lights are off. It's a
very hot night.
65.
APRIL
You don't want to go, do you?
FRANK
Come on, April. Of course I do.
APRIL
You don't! Because you've never
tried at anything. And if you
don't try at anything you can't
fail.
FRANK
What the hell do you mean I don't
try? I support you, don't I? I
pay for this house. I work ten
hours a day at a job I can't stand.
APRIL
You don't have to!
FRANK
Bullshit! I'm not happy about it.
But I have the backbone not to run
away from my responsibilities!
APRIL
It takes backbone to lead the life
you want, Frank.
He shakes his head and gets up.
APRIL (CONT'D)
Where are you going?
FRANK
Is it alright with you if I go to
the bathroom?
She disgustedly twists out her cigarette, and immediately
lights another.
INT. WHEELER BATHROOM - NIGHT.
Frank splashes water on his face like a boxer between rounds.
He looks up at his reflection.
66.
He reaches for a towel, but there isn't one. He turns to the
shelf behind him and pulls down a fresh towel. Something
catches his eye.
He reaches to the back and retrieves a small brown paper
package.
He opens it, his face slowly registering what it means...
INT. WHEELER FAMILY ROOM - NIGHT.
April wheels around as -
Frank storms in, a rubber syringe in his hand.
FRANK
What the hell are you going to do
with this?
APRIL
And what do you think you're going
to do? You're going to stop me?
FRANK
You're damn right!
APRIL
Go ahead and try!
He comes at her across the room with the syringe in his hand.
She moves away.
FRANK
Listen. Listen to me. You do this
- you do this and I swear to God
I'll -
APRIL
You'll what? You'll leave me? Is
that a threat, or a promise?
He shakes it in her face.
FRANK
When did you buy this, April? I
want to know!
67.
APRIL
You know you really are being
melodramatic about the whole thing.
As long as it's done in the first
twelve weeks, it's perfectly safe.
FRANK
That's now April! Don't I get a
say?
APRIL
Of course you do! It would be for
you, Frank, don't you see? So you
can have time. Like we talked
about.
FRANK
How can it be for me if the thought
makes my stomach turn over?
APRIL
Then it's for me... Tell me we can
have the baby in Paris, Frank. But
don't make me stay here. Please.
FRANK
We can't have the baby in Paris.
APRIL
Why not? I don't need everything
we have here. I don't care where
we live! I mean who made these
rules, anyway? The only reason we
moved out here was because I got
pregnant. Then we had another
child to prove the first one wasn't
a mistake. I mean how long does it
go on?
He turns away.
APRIL (CONT'D)
Frank. Do you actually want
another child? Well, do you?
He won't answer.
68.
APRIL (CONT'D)
Come on, tell me. Tell me the
truth, Frank. Remember that? We
used to live by it. You know what's
so good about the truth? Everyone
knows what it is, however long
they've lived without it. No one
forgets the truth, Frank, they just
get better at lying. So tell me: do
you really want another child?
Frank turns towards her.
FRANK
All I know is what I feel. And
anyone else in their right mind
would feel the same way.
APRIL
(quiet)
But I've had two children. Doesn't
that count in my favor?
FRANK
Christ! The fact that you even put
it that way! You make it sound
like having children is a
punishment.
APRIL
I love my children.
FRANK
And you're sure about that?
APRIL
What the hell is that supposed to
mean?
FRANK
April, you just said our daughter
was mistake. How do I know you
didn't try to get rid of her, or
Michael for that matter? How do I
know you didn't try to flush our
entire fucking family down the
toilet?
69.
APRIL
No that's not true. Of course I
didn't.
FRANK
But how do I know April?
APRIL
Stop. Please just stop, Frank.
FRANK
April, a normal woman, a normal
sane mother doesn't buy herself a
piece of rubber tubing to give
herself an abortion so she can, go
live out some God damn fantasy.
April's face.
FRANK (CONT'D)
(sober)
All I'm saying is you don't seem
entirely rational about this
thing... And maybe we should get
someone to help you think about it.
APRIL
...And the new job's going to pay
for that too?
FRANK
April if you need a shrink, it'll
be paid for. Obviously.
April turns to the book shelves. Her back to him.
Frank waits, his heart beating quickly.
APRIL
...Okay. I guess there isn't much
more to say, then, is there?
Her eyes are bright with tears.
APRIL (CONT'D)
So I guess Paris was a pretty
childish idea, huh?
70.
Everything hangs on Frank's answer...
FRANK
I guess maybe it was.
April closes her eyes. Tears run down her cheeks. He walks
over to her, but he doesn't touch her.
FRANK (CONT'D)
We can be happy here April... I
can make you happy here.
She cries quietly.
FRANK (CONT'D)
We've had a great few months. It
doesn't have to end...
She turns to face him.
FRANK (CONT'D)
We're going to be okay.
APRIL
I hope so Frank. I really hope so.
INT. WHEELER LIVING ROOM - MORNING.
Frank stands at the picture window watching...
April approach the children. She squats on the ground so she
can be at their height and talks to them. Michael tries to
get into her arms. Jennifer turns away and walks sulkily
across the grass.
Frank looks into his coffee cup. He doesn't look like a man
who won an argument.
INT. KNOX WAITING ROOM - DAY.
Frank sits smoking nervously in an oak-paneled waiting room.
The door opens behind him. He gets to his feet.
RECEPTIONIST
Thank you for waiting. Mr. Pollock
can see you now.
71.
He follows her through the door. The door closes behind her.
We see the scene in dumb-show through the glass door. Bart
looks up as Frank enters. An "I knew it all along" smile
spreads across Pollock's face. He offers his hand to Frank.
Frank smiles thinly. They shake.
JACK (O.S)
Foiled by faulty contraception.
INT. MIDTOWN RESTAURANT - DAY.
Frank, Ed, Vince and Jack sit in the same booth in the same
crowded luncheonette.
Frank stares out the window. The others can't contain
themselves.
ED
I can't say I'm sorry.
VINCE
Wouldn't have been the same without
you.
JACK
You'd have been sorely missed in
the old cubicle, I can tell you
that.
He raises his glass, drinks alone.
JACK (CONT'D)
Besides which...
Frank looks away from the window.
FRANK
What?
JACK
...Well, the plan always seemed a
touch unrealistic, don't you think?
Frank glares with barely contained fury.
72.
JACK (CONT'D)
I suppose, it's none of my
business, really.
FRANK
No. I suppose it isn't.
A beat.
JACK
Well, we won't be the only ones
glad to hear the news. They'll be
celebrating in the secretarial
pool.
Ed and Vince chuckle. Frank's face.
INT. VITO'S LOG CABIN - NIGHT.
Two drumsticks spinning in a spotlight. They click out a
rhythm, and crash into a number.
Cut back to reveal a small, low-ceilinged joint. On-stage
are the Steve Kovack quartet, four perspiring middle-aged men
with day jobs.
YOUNGISH COUPLES, and the odd middle-aged COUPLE navigate the
dance floor.
A smattering of lost SINGLES line the bar.
The Wheelers and Campbells sit squashed into a booth on the
side of the dance floor.
Several empty glasses have accumulated. Milly is beating the
edge of the table with red drink straws. She's a few drinks
ahead.
They have to SHOUT over the MUSIC.
MILLY
Hey! Remember the first time you
brought us here? You said, it
takes a special kind of taste to
enjoy Vito's Log Cabin!
73.
SHEP
It's so awful it's kinda nice!
MILLY
That's right!
They laugh at the old joke. Then Milly begins to weep.
MILLY (CONT'D)
(dabs at her eyes)
Look at me...! I'm just so happy.
Our little gang's back together
again!
She knocks her drink back. The number finishes.
SHEP
At least Europe's not going
anywhere.
April stares out at the dance floor. Frank looks at her. A
new number starts.
FRANK
Wanna dance?
APRIL
I don't really feel like it.
MILLY
I'll dance!
Milly takes him by the hand and pulls him away. Shep and
April watch. Then Shep turns his attention to April.
MILLY (CONT'D)
(tipsy)
Guess April's pretty blue `bout
Paris, huh?
FRANK
Think she'll be okay?
MILLY
Oh, sure. Give us girls a couple
of days and we can get over
anything!
74.
Frank turns his attention to Milly. He's a good dancer. His
movements are fast and aggressive, his mind on April.
Milly is a little too drunk, and hurries to keep up,
perspiring through her dress. He spins her around and
around, back and forth into his arms. Milly begins to look
slightly dizzy.
MILLY (CONT'D)
...Frank.
He doesn't hear her over the music, or he doesn't care.
MILLY (CONT'D)
Frank... I...
FRANK
(sudden remorse)
You okay?
MILLY
Gee...I'm afraid I'm not very...
Her body spasms with the need to be sick. She turns and
rushes for the lady's room.
EXT. VITO'S LOG CABIN - NIGHT.
Frank leads the way through the cars.
Shep supports Milly who is now falling down drunk.
April walks alone a few paces behind...
They reach Shep's car, which is trapped behind several other
cars.
SHEP
Of all the inconsiderate...
A beat. Frank looks to April.
75.
APRIL
Look - why don't you take Milly
home, then go home yourself and
that would take care of both
sitters. Then Shep can take me
home later.
SHEP
All right with me.
FRANK
(to April)
You'll be alright?
APRIL
Sure.
Frank holds April's look an instant, then walks away with car
keys in hand.
INT. VITO'S LOG CABIN - NIGHT.
Steve Kovack performs an exhausting, sweat-drenched drum
solo.
April and Shep now sit alone in the booth.
SHEP
I'm sorry you're not going away
anymore. I know it was important to
you.
April distantly nods her thanks.
SHEP (CONT'D)
Don't take this wrong; I've been
there and...they don't have so much
we don't have here.
APRIL
It didn't have to be Paris.
Shep sips his beer, trying to figure out how to connect with
her...
SHEP
You just wanted out, huh?
76.
APRIL
I wanted in. I just wanted us to
live again.
Shep nods, not entirely sure what she means.
APRIL (CONT'D)
For years I thought we shared a
secret...that we would be wonderful
in the world. I didn't exactly know
how, but just the
possibility...kept me hoping.
She takes a long slug of her drink.
APRIL (CONT'D)
How pathetic is that? To put all
your hopes in a promise that was
never made? See, Frank knows...he
knows what he wants. He's found his
place. He's just fine. Married, two
kids. It should be enough. It is
for him. He's right; we were never
special or destined or anything at
all.
SHEP
Sure you are. You're The Wheelers.
You're a terrific couple, everyone
says so.
April doesn't hear, she's pursuing her thought...
APRIL
I saw a different life. I can't
stop seeing it.
(beat)
Can't leave, can't stay.
(beat)
No damn use to anyone.
April turns and stares at him.
The band strikes up a new number.
APRIL (CONT'D)
Come on, let's do it.
77.
INT. VITO'S LOG CABIN, DANCE FLOOR - NIGHT.
April and Shep dance.
Shep can't dance well, but he's trying. April, on the other
hand, is a wonderful dancer. She dances out as far as their
joined hands allow and does a little twitching, hip-bobbing
curtsies before twisting back, all seemingly effortless. It
is joyous, released.
INT. SHEP'S CAR - NIGHT.
Shep slips behind the wheel and is immediately kissing her,
groping.
SHEP
Let me take you somewhere.
APRIL
No. Please. Here. Now. In the
back seat.
She climbs into the back seat. He pulls off his jacket and
climbs in after her. He folds the jacket under her head for
a pillow...
She remains perfectly still, allowing him to kiss her, to
search under her clothing, to kiss her skin and finally, to
lift her skirt and pull her clothing aside and make love to
her against the vinyl seat cover...
As suddenly as it began, it's over. Shep collapses against
her. April stares into the darkness.
SHEP (CONT'D)
April... This is what I've always
wanted... I love you.
APRIL
Don't say that.
SHEP
I mean it, I love you.
APRIL
Please, just be quiet for a minute,
then you can take me home.
78.
They begin to quietly assemble themselves.
INT. FRANK AND APRIL'S BEDROOM - AFTERNOON
Frank stands at the mirror putting on a clean shirt.
INT. WHEELER KITCHEN/DINING ROOM - AFTERNOON.
April stands at the kitchen table chopping vegetables. She
wears an unflattering floral dress.
Frank stands in the doorway watching.
FRANK
It's beautiful out.
APRIL
Yes; it's lovely.
He glances at the calendar.
FRANK
You know what today is?
She doesn't look at him.
FRANK (CONT'D)
It's twelve weeks.
APRIL
That's right.
He walks over to her. He takes her in his arms. She
stiffens.
FRANK
Look, this has been kind of a crazy
summer. We've both been under a
strain. I mean I know you're
upset.
APRIL
You know I'm not sleeping with you
and you want to know why?
79.
She looks him straight in the eye.
APRIL (CONT'D)
Well, I'm sorry Frank, but I don't
really feel like talking about it.
She pulls herself free of his grasp. He watches as she adds
the vegetables in the pot on the stove.
FRANK
Okay. What do you feel like
talking about?
APRIL
Would it be all right if we didn't
talk about anything? Can't we just
take each day as it comes, and do
the best we can, and not feel we
have to talk about everything all
the time?
He smiles patiently.
FRANK
I don't think I suggested we talk
about everything all the time. My
point was, we've both been under a
strain and we ought to be trying to
help each other as much as we can
right now.
She's utterly uninterested and it's making him nervous.
FRANK (CONT'D)
I mean God knows my own behavior
has been pretty weird lately... I
mean, as it happens... there is
actually something I'd like to tell
you about...
She continues folding the napkins.
FRANK (CONT'D)
I've been with a girl in the city a
few times.
Finally, she stops moving. She looks at him.
80.
FRANK (CONT'D)
A girl I hardly even know. It was
nothing to me, but she got a little
carried away. She's just a kid...
Anyway, it's over now. It's really
over. If I weren't sure of that I
guess I could never have told you
about it.
APRIL
Why did you?
FRANK
(relieved)
Baby, I don't know. I think it was
a simple case of wanting to be a
man again after all that abortion
business. Some kind of neurotic,
irrational need to prove something.
APRIL
No. I don't mean why did you have
the girl; I mean why did you tell
me about it?
He is suddenly unsure.
APRIL (CONT'D)
I mean what's the point? Is it
supposed to make me jealous, or
something? Is it supposed to make
me fall in love with you, or back
into bed with you, or what? I mean
what am I supposed to say?
He tries that same patient smile, but it's not convincing.
FRANK
Why don't you say what you feel?
APRIL
I don't feel anything.
FRANK
In other words you don't care what
I do or who I fuck or anything?
81.
APRIL
No; I guess that's right; I don't.
She is frighteningly calm.
APRIL (CONT'D)
Fuck who you like.
His panic mounts.
FRANK
Don't you see...Don't you see, I
want you to care.
APRIL
Oh, I know you do. And I suppose I
would if I loved you. But you see
I don't think I do anymore. And I
only just figured that out. And
that's why I'd just as soon not do
any talking right now.
She goes back into the kitchen. Frank follows her.
FRANK
Oh, now don't give me this shit!
You know God damn well you love me!
APRIL
You think so?!
FRANK
You know GOD DAMN WELL!
MRS. GIVINGS (O.S.)
Yoo-hoo! Any one home?
Frank and April stare at each other, breathless.
INT. WHEELER DINING ROOM - LATE AFTERNOON.
Frank and the Givings' sit with cocktails. It's painfully
awkward. Moving boxes are everywhere.
APRIL
I'm sorry dinner's late. Can I get
anyone a refill?
82.
MRS. GIVINGS
Oh, don't worry. It's nice just to
sit for a bit and socialize...You
really didn't need to go through
all the trouble of cooking. I can
see you have a lot to do with
packing and what not.
Frank looks at April. She avoids his look.
FRANK
Actually, there's been a change of
plans.
MRS. GIVINGS
Oh?
John looks up.
Frank looks at April.
FRANK
I thought maybe it was obvious...
April's pregnant.
April manages a forced smile.
MRS. GIVINGS
Oh, April! I can't tell you how
pleased I am. Oh, but I expect
you'll be needing a bigger house,
now, won't you?
JOHN
Hold it a second, Ma.
John gets to his feet.
JOHN (CONT'D)
I don't get this.
He fixes Frank with the stare of a prosecuting attorney.
JOHN (CONT'D)
What's so obvious about it? I mean
okay, she's pregnant; so what?
Don't people have babies in Europe?
83.
MRS. GIVINGS
Oh John, really. I don't think we
need to --
John holds up a hand.
JOHN
I'm asking the man a question. If
he doesn't want to give me the
answer, I'm assuming he'll have
sense enough to tell me so.
FRANK
Suppose we just say that people
anywhere aren't very well advised
to have babies unless they can
afford them.
JOHN
(nods slowly)
Okay. Okay; it's a question of
money. Money's always a good
reason...
John paces the room, with his hands behind his back like a
detective at a murder scene.
JOHN (CONT'D)
But it's hardly ever the real
reason. What's the real reason?
Wife talk you out of it, or what?
He turns the force of his smile on April.
JOHN (CONT'D)
Little woman decide she isn't quite
ready to quit playing house?
She walks across the room and stabs out her cigarette. Then
immediately lights another.
JOHN (CONT'D)
Nah, nah, that's not it. I can
tell. She looks too tough. Tough
and female and adequate as hell.
He swings around to face Frank.
84.
JOHN (CONT'D)
Okay, then; it must've been you.
Frank stares back defiantly. Rage bubbling.
JOHN (CONT'D)
What happened?
MRS. GIVINGS
John, please, you're being very --
John holds up his hand.
JOHN
What happened, Frank? You get cold
feet, or what? You decide you're
better off here after all? You
figure it's more comfy here in the
old Hopeless Emptiness after all,
or --
Frank's face.
JOHN (CONT'D)
Wow, that did it! Look at his
face! What's the matter, Wheeler?
Am I getting warm?
Frank stares at John, his rage increasing. Mr. Givings gets
to his feet.
MR. GIVINGS (CONT'D)
All right, son. I think we'd
better be --
JOHN
Boy!
He lets out his braying laugh. April starts to laugh.
JOHN (CONT'D)
Boy! You know something? I
wouldn't be surprised if you
knocked her up on purpose just so
you could spend the rest of your
life hiding behind that maternity
dress. That way you never have to
find out what he's made of.
85.
FRANK
Now look, I think that's just about
enough out of you. I mean, who the
hell do you think you are? You
come in here and say whatever crazy
God damn thing comes into your head
and I think it's about time someone
told you to keep your God damn -
MRS. GIVINGS
He's not well, Frank.
FRANK
Not well, my ass! I don't give a
damn if he's sick or well or dead
or alive, he should keep his
fucking opinions in the fucking
insane asylum where they belong!
April stares at Frank.
MR. GIVINGS
Let's go, son.
Mr. Givings moves John towards the door. Mrs. Givings slowly
stands. April is the only one left seated.
JOHN
Big man you got there, April.
He winks at April and puts his hat on.
JOHN (CONT'D)
Big family man, solid citizen. I
feel sorry for you. Still, maybe
you deserve each other.
April's face.
JOHN (CONT'D)
Matter of fact, the way you look
right now, I'm beginning to feel
sorry for him, too. I mean, you
must give him a pretty bad time, if
making babies is the only way he
can prove he's got a pair of balls.
86.
FRANK
You... fucking..!
Frank lunges at John. Mr. Givings tries to hold Frank back.
Mrs. Givings leaps between them. She's crying.
MRS. GIVINGS
He's not well, Frank!
Silence. Mr. Givings slowly releases Frank. He is
breathing heavily.
MR. GIVINGS
All right, John. Let's get on out
to the car now.
He guides him from the room.
MRS. GIVINGS
I'm sorry April, I'm so sorry...
JOHN
Right... Sorry, sorry, sorry!
Okay Ma? Have I said `Sorry'
enough times? I am sorry, too.
Damn; I bet I'm just about the
sorriest bastard I know. Course,
get right down to it, I don't have
a whole hell of a lot to be glad
about, do I?
He takes another step towards the door, then stops and turns
back, laughing again.
JOHN (CONT'D)
Hey, but I'm glad about one thing,
though.
He points a yellow-stained finger at April's stomach.
JOHN (CONT'D)
You know what I'm glad about? I'm
glad I'm not gonna be that kid.
They go out.
Frank goes to the liquor cabinet, pours a whiskey and drinks
it.
87.
April watches him from across the room.
FRANK
Okay, okay, don't tell me. Don't
tell me; let me guess. I made a
Disgusting Spectacle of Myself.
Right?
APRIL
Right.
He turns to April.
FRANK
And everything that man said is
True. Right? Isn't that what
you're going to say?
APRIL
Apparently I don't have to. You're
saying it for me.
He comes towards her.
FRANK
But you're wrong.
APRIL
Why am I wrong?
FRANK
Because the man is insane. He's
fucking insane! Do you know what
the definition of insanity is?
APRIL
What is it, Frank?
FRANK
The inability to relate to another
human being. It's the inability to
love.
She looks at him. Then she begins to laugh.
APRIL
The in -- the in; the inabil; the
inability to --
88.
She reels around the room, her laughter increasingly out of
control.
APRIL (CONT'D)
Oh. -- Oh, Frank, you really are a
wonderful talker! If black could
be made into white by talking,
you'd be the man for the job. So
now I'm crazy because I don't love
you -- right? Is that the point?
FRANK
No. Wrong. You're not crazy and
you do love me; that's the point.
He takes a step towards her.
All the laughter goes out of her face. She backs away.
APRIL
But I don't. In fact I loathe the
sight of you. You're just a boy who
made me laugh at a party once and
if you come any closer, if you
touch me or anything I think I'll
scream.
He takes her by the arms.
FRANK
Oh baby listen --
She SCREAMS. High and shrill. Her eyes wide open, cold and
perfectly calm.
FRANK (CONT'D)
Fuck you, April. And fuck all your
hateful, snotty little -
She slips past him.
He goes after her.
She pulls a chair into his path.
He SLINGS it against the wall.
89.
APRIL
What're you going to do now? Are
you going to hit me? To show how
much you love me?
FRANK
Oh, no, don't worry, I can't be
bothered! You're not worth the
trouble it'd take to hit you.
You're not worth the powder it'd
take to blow you up. You're an
empty --
He begins to shake with anger.
FRANK (CONT'D)
You're an empty, hollow fucking
shell of a woman. What the hell
are you living in my house for if
you hate me so much? Huh? Will
you answer me that? Why the hell
do you fuck me? What the hell are
you carrying my child for?
He points at her belly.
FRANK (CONT'D)
Why the hell didn't you just get
rid of it, when you had the chance?
Because listen. Listen: I got news
for you. I wish to God you had.
He strides out of the room.
INT. FRANK AND APRIL'S BEDROOM - EVENING.
Frank enters the bedroom and slams the door.
He paces, slowly calming.
He sits on the bed with his head in his hands... His mind
racing. Then he's on his feet again. He rushes for the
door.
90.
INT. WHEELER KITCHEN - EVENING.
Frank enters, running, but the kitchen is empty. Frank runs
out of the room into living room.
INT. WHEELER LIVING ROOM - EVENING
The living room is empty. He goes straight for the front
door.
EXT. WHEELER HOUSE - EVENING.
Frank bursts out the front and comes to a stop.
She's across the street - climbing unsteadily into the
woods...
Frank breaks into a sprint.
EXT. WOODS - EVENING.
April walks through the woods.
Frank runs up behind her, scrambling through the muddy
bracken.
April wheels around.
APRIL
Don't come any closer.
FRANK
April, listen, I --
APRIL
Don't come any closer. Can't I
even get away from you in the
fucking woods?
He stops moving.
FRANK
April, listen, I didn't mean that.
Honestly; I didn't mean what I
said.
91.
APRIL
Are you still talking? Isn't there
any way to stop your talking? I
NEED to think. Can't you see that?
She backs up against a tree trunk, looking down at him.
FRANK
Please come back. What're you
doing out here?
APRIL
Do you want me to scream again,
Frank? Because I will, if you say
another word! I mean it!
Frank has no choice - they're outside. The neighbors would
hear and call the police. He reluctantly backs away, then
turns back the way he came, glancing over his shoulder as he
goes.
INT. WHEELER FAMILY ROOM - NIGHT.
Frank stands at the window watching the section of woods
where he left April.
Then, he sees her come back across the street. She walks
around the side of the house. He turns and runs into the
kitchen.
INT. WHEELER KITCHEN - NIGHT.
Frank goes to the window. He watches April walk up into the
yard and stop against a tree.
Frank pours a drink and takes the bottle with him to the
window. He looks out, drinking.
In the darkness, he can make out the glow of April's
cigarette deep in the woods.
INT. FRANK AND APRIL'S BEDROOM - NIGHT, LATER.
Frank falls back on the bed.
92.
He's now very drunk.
His eyes close as he slips into unconsciousness.
INT. FRANK AND APRIL'S BEDROOM - MORNING.
Frank wakes alone. He looks around the room. His head is
throbbing.
INT. WHEELER KITCHEN - MORNING.
Frank stands in the doorway dressed for work. He stares...
The kitchen has been tidied and is bathed in sunlight. The
table has been carefully set for two.
April stands at the stove wearing a fresh maternity dress.
She seems serene.
April turns and looks at him.
APRIL
Good morning.
FRANK
Good morning.
He stands there frozen.
APRIL
Would you like scrambled eggs or
fried?
FRANK
Oh. It doesn't really matter -
Uh... scrambled, I guess, if it's
easy.
APRIL
Fine. I'll have scrambled too.
Frank sits at the table.
93.
INT. WHEELER KITCHEN - MORNING, MOMENTS LATER.
Frank and April sit across the kitchen table, eating. For
several moments, only the sound of their cutlery.
FRANK
It's kinda nice having breakfast
without the kids for a change.
April reaches out to pour him some orange juice. Her hands
shake slightly.
APRIL
Yes. I thought you'd probably want
a good breakfast today. I mean it's
kind of an important day for you,
isn't it? Isn't this the day you
have your conference with Pollock?
FRANK
(surprised)
Yes. That's right, yes.
He shrugs.
FRANK (CONT'D)
Big deal.
APRIL
I imagine it is a pretty big deal;
for them, anyway. What exactly do
you think you'll be doing? You
never have told me much about it.
FRANK
Haven't I? Well... I think this
whole thing is about Knox getting
ready to buy up one of these really
big computers, bigger than the
`500'. Did I tell you about that?
APRIL
No, I don't believe you did.
94.
FRANK
Well, you know -- Basically it's
just a...a big, fast adding
machine. Only...
He takes a pencil from his inside pocket and delicately
sketches the computer on the napkin.
FRANK (CONT'D)
Instead of mechanical parts, you
see, it's got thousands of little
individual vacuum tubes.
She picks up the drawing and looks at it. It's surprisingly
delicate.
APRIL
Oh, I see. At least I think I see;
yes. It's really sort of --
interesting, isn't it?
FRANK
Well, I don't know, it's -- yeah, I
guess it is sort of interesting, in
a way.
APRIL
You should value what you do Frank.
You're obviously good at it.
He smiles, flattered and surprised. He slips the pencil into
the inside pocket of his suit.
FRANK
Guess I'd better be getting
started.
He stands. April stands up too, smoothing her skirt.
FRANK (CONT'D)
Listen, though, April; this was
really nice... I mean it was a
swell breakfast. Really; I don't
know when I've ever had a -- a
nicer breakfast.
95.
APRIL
Thank you... I'm glad; I enjoyed it
too.
They stand there gazing at one another across the table.
Suddenly, inexplicably, his eyes are filled with tears.
He turns and walks to the door. He puts his hand on the
handle and turns back once more.
FRANK
Then you don't -- You don't hate
me, or anything?
APRIL
No; of course I don't.
She comes over to him.
APRIL (CONT'D)
Have a good day.
He leans down and kisses her tenderly. They look at one
another a moment longer.
FRANK
Okay, then... So long.
He steps through the door. She catches the door before it
shuts and watches him through the screen.
EXT. WHEELER DRIVEWAY - MORNING.
April walks out onto the driveway as the car reverses away
down the drive.
INT. WHEELER CAR - MORNING.
Frank backs the car onto the road. He slides the car into
drive and then catches sight of April in the driveway.
EXT. WHEELER DRIVEWAY - MORNING.
April sees Frank looking back at her. She waves. Frank
waves from the car and drives off...
96.
Then April is alone. She shivers from the morning chill.
She turns and looks back at the house.
INT. WHEELER KITCHEN - MORNING.
April enters through the screen door and goes to the table.
She looks down at Frank's diagram and carefully places it
aside.
She carries the dishes to the sink and begins to wash them.
Suddenly, her body convulses as she tries to hold back from
crying. And then there is no stopping the tears...
INT. WHEELER HALLWAY - MORNING.
April is standing by the phone, with her hand on the
receiver, rehearsing. She is smoking. She dials.
APRIL
Hello... Milly? Everything all
right? My voice sounds what...?
April uses both hands to grip the receiver.
APRIL (CONT'D)
Well, no, I'm afraid I'm not
feeling any better... If it's not
an inconvenience for you... This
evening would be great. What...?
Oh, well- no, not if they're
outdoors playing. Don't call them
in.
The cigarette shreds in April's hand.
APRIL (CONT'D)
Just give them - you know, give
them each a kiss for me, and give
them my love, and tell them - you
know... All right, Milly. Thanks.
She hangs up and begins to cry again. Takes a breath.
97.
INT. WHEELER HALLWAY - MORNING.
FOOTSTEPS...
We move behind April as she walks through the silent house.
The distant SOUND of children playing outside.
Each room she passes is a pocket of silence.
INT. FRANK AND APRIL'S BEDROOM - MORNING.
April makes the bed.
She arranges her shoes on the floor of the closet.
April reaches onto a shelf behind some clothes. Pulls out
the brown paper package.
INT. WHEELER KITCHEN - MORNING.
April stands at the stove over a pot of rolling, boiling
water.
She removes the rubber syringe from its paper packaging and
drops it into the pot. She checks her watch.
INT. WHEELER HALLWAY - DAY.
April carries the pot of boiling, sudsy water down the hall.
INT. WHEELER BATHROOM - DAY.
April places the pot into the tub. She lays towels across
the floor. And closes the door...
INT. WHEELER BATHROOM - DAY, MOMENTS LATER.
The SOUND of running water. The empty mirror. April's face
rises up into the reflection with a gasp.
98.
INT. WHEELER HALLWAY - DAY.
We move with April down the hallway, her face is pale.
INT. WHEELER LIVING ROOM - DAY, LATER.
Now April stands at the picture window. She is shaking.
A DROPLET of blood slides down her knee. She looks down.
On the floor, two droplets of blood appear between her bare
feet...
Now we see the bright maple leaf of blood seeping through her
skirt. She is shaking more.
She walks slowly out of the room, towards the kitchen.
APRIL (O.S.)
I think I need an ambulance....
Yes... One one five Revolutionary
Road.
INT. CAMPBELL KITCHEN - DAY.
Milly folds laundry. She looks up to see -
An ambulance turns into the Wheeler's driveway. Her face
clouds with instinctual foreboding.
INT. HOSPITAL HALLWAY - AFTERNOON.
Shep steps out into a hospital hallway.
Frank paces, helpless in the waiting room, his face a mask of
bewildered, childlike confusion. He looks up to see -
Shep coming towards him.
SHEP
Frank? They tell you what
happened?
99.
FRANK
Jesus, Shep. I couldn't even
understand half the things he told
me. He said the fetus was out
before they got her here. He said
they had to operate to take out the
whatdycallit, the placenta and now
she's still bleeding. He said
she'd lost a lot of blood before
the ambulance came, and now they're
trying to stop it, and he said a
whole lot of things I didn't get,
about capillaries, and he said
she's unconscious. Jesus.
SHEP
How about sitting down, Frank.
FRANK
What the hell do I want to sit down
for!
SHEP
Okay. Take it easy.
FRANK
My God.
SHEP
Here, have a cigarette.
Shep offers the pack. Frank doesn't take one.
FRANK
She did it to herself, Shep.
Shep's face as he realizes what he's saying.
FRANK (CONT'D)
She did it to herself.
Shep takes a cigarette for himself. He lights it with
trembling fingers.
SHEP
I'll get some coffee.
Frank looks over at Shep as if he'd forgotten him. He nods.
100.
Shep stands and walks down the hall.
INT. HOSPITAL - COFFEE MACHINE - AFTERNOON.
Shep stands at a coffee machine, gathering himself. He looks
up. He begins to feed coins into the machine. His hands are
trembling. He drops a coin. It rolls under the machine. He
has to get down on his hands and knees to retrieve it...
INT. HOSPITAL HALLWAY - AFTERNOON.
Shep walks tentatively, holding a cup in each hand, slopping
coffee onto the floor...
He rounds the corner and stops.
Frank is no longer in his chair at the end of the long
echoing hallway. Shep looks around...
Then suddenly, the double doors are flung open and a number
of nurses hurry out. Behind them, comes Frank, supported by
two Doctors.
Shep runs to them as they move Frank over to a chair. He's
in shock.
FRANK
No. No. No.
They try to make him sit, but he stays stubbornly on his
feet, the chair skidding behind him.
DOCTOR
Try to sit down, Mr. Wheeler.
SHEP
Sit down Frank.
Frank looks at Shep - his face is a terrifying blank.
EXT. REVOLUTIONARY ROAD - MAGIC HOUR.
A toyland of white and pastel houses along the road. The
crisp green lawns. The blue televisions flickering behind
the glass.
101.
We hear the WHISK of running footsteps on the asphalt, the
rush of a man's breath...
Frank is running down the middle of the street, tears
streaming silently down his face...
INT. CAMPBELL LIVING ROOM - EVENING, ONE YEAR LATER.
Four high-ball glasses with glistening cubes of ice.
Shep puts the finishing touches on four drinks.
MR. and MRS. BRACE, a pleasant looking young couple fresh
from the city sit on the couch.
MILLY
...It was the worst experience of
my life. Such wonderful people.
Weren't they Shep? Poor April.
Shep picks up the drinks and carries them across the room.
He stands there beside the three of them, but he can't bring
himself to sit down and join in.
MILLY (CONT'D)
Frank lives in the city now. Where
is it he works?
SHEP
Bart Pollock Associates.
MR. BRACE
Computers. Interesting firm.
Mr. Brace removes his pipe and looks at it.
MRS. BRACE
Have you seen him since?
MILLY
No. Too many memories, I think.
Shep's seen him. In the city.
Shep nods.
102.
MILLY (CONT'D)
He's just dedicated to those kids.
Every spare moment he has, he
spends with them...
Shep turns and walks out of the room.
EXT. CAMPBELL HOUSE - EVENING.
Shep walks across the lawn to the edge of the property. He
looks out over the suburban houses. At what was once the
Wheeler house.
Shep's face, looking out. His eyes are filled with tears.
Milly comes up behind him.
MILLY
You okay?
SHEP
Mm-hmm.
She takes his arm and holds him close.
SHEP (CONT'D)
I don't want to talk about The
Wheelers any more.
MILLY
Okay. We don't have to. We don't
have to.
Shep and Milly look out over Revolutionary Road.
EXT. CITY PARK - DAY.
The same silence over a beautiful day in the city. And
from the silence, the faint sound of wind through the leafy
branches of trees.
Two children play in a playground in a small park.
It's Jennifer and Michael. They seem happy, engrossed. Other
kids play around them.
103.
Watching them from a bench is Frank. He is a little older, a
little thinner.
Close on Frank's face. The SOUND of his children playing.
INT. GIVINGS' LIVING ROOM - DAY
Mrs. Givings crouches on a cotton work sheet painting varnish
onto a chair. Mr. Givings sits reading the paper.
A new puppy sleeps curled up on the rug nearby.
MRS. GIVINGS
I can't tell you how pleased I am
about the little Revolutionary Road
place, Howard. Remember how dreary
it looked all winter? All cold and
dark and -- well, spooky. Creepy-
crawly. And now whenever I drive
past, it gives me such a lift to
see it all perked up and spanking
clean again, with lights in the
windows. And do you know, I was
just thinking, I've loved that
little house for years, and the
Braces are the first really
suitable people I've ever found for
it. Really nice, congenial people,
I mean.
Mr. Givings fiddles with his hearing aid.
MR. GIVINGS
Well, except for the Wheelers, you
mean.
MRS. GIVINGS
Oh, I was very fond of the Wheelers
but they always were a bit -- a bit
whimsical, for my taste. A bit
neurotic. I may not have stressed
it, but they were often very trying
people to deal with, in many ways.
(MORE)
104.
MRS. GIVINGS (CONT'D)
Actually, the main reason the
little house has been so hard to
sell is that they let it depreciate
so dreadfully. Warped window
frames, wet cellar, crayon marks on
the walls, filthy smudges around
all the--
Mr. Givings reaches up to his ear and SUDDENLY... SILENCE...
but for the faint sound of wind.
He gazes out the window as behind him Mrs. Givings continues
to talk, but we can't hear a thing.
He has turned off his hearing aid.
FADE TO BLACK
| Revolutionary Road
Writers : Justin Haythe
Genres : Drama Romance
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